This course addresses recorded vocal performances and the technologies used to highlight and support them in modern record production and mixes. Most of us know that vocals serve as the focal point of modern recordings but many do not know the tools used or when the tools are used best in modern record production.
The course begins with simple vocal placement in a mix, where you will also learn the fundamentals of compression and equalization. You’ll further study delays and reverbs before moving to advanced concepts in audio editing, synthetic processing, automatic & graphic pitch correction, time compression, time expansion, flex and elastic audio.
Through analysis and/or hands on projects that the students will post for peer review, the student will gain an understanding of the many choices available to modern record producers as they record and mix with a modern tool set. You’ll see, in action, the Vocoder, Auto-Tune, Melodyne, Elastic Audio, Flex Time, VocAlign, tempo based editing and a host of other file modification protocols that are readily available on most Digital Audio Workstations. This course gives students a thorough look at the expanded choices that have risen in the art of vocal production as a result of these modern tools.
The goal of the course is to help interested novices understand the recordings they are listening to, performers find an expanded language for their recorded voices and for vocal producers to be able to create musically artistic visualizations using singers as their paintbrushes.

FD

Nice and interesting course about vocal production. Great tips and information in an introduction way. Amazing for first steps in music production.

AT

Aug 31, 2017

Filled StarFilled StarFilled StarFilled StarFilled Star

Great course with a lot of good information. Now I just have to work on putting what I learned into actual practice in the studio.

從本節課中

Artificial Vocal Design: How Vocal Producers “Sweeten” the Creation

In this lesson, we will lean less on the vocalist and more on tools that can be used to change the way we listen to vocals in music. You will now understand how delays and reverbs have been used in the music you love and their relationship to time and tempo. Your desire to try out some of these techniques will be piqued by the time you finish this lesson.

教學方

Prince Charles Alexander

Professor

腳本

We'll start with our single vocal in the phantom center, just for orientation. >> [MUSIC] >> We'll lay it to the side, open up our widening track. Make sure that we're communicating with our widening track through bus five and listen. >> [MUSIC] >> Between 1 millisecond to 30 milliseconds, I can create a widening version of my vocal. If I go beyond 30 milliseconds, let's get into the 40 milliseconds range. Between 40 and 60 I can create a doubling version. You can really hear that there are two separate performances going on. >> [MUSIC] >> And I'll pan this track to the right. >> [MUSIC] >> Kind of hard to figure out which one to focus on. Should I be focusing on the one on the left or focusing on the one on the right? I'll play it again. >> [MUSIC] >> I'll rename this track double. Now let's pan the original track in the center. And the second version, the 60 millisecond version or the 40 millisecond version in the center also, and listen to the two. >> [MUSIC] >> Starting to sound like there's more than one vocal in the center plane. The second one is a little bit thick so I might want to tailor it to the composition and bring it down. >> [MUSIC] >> My vocal feels thicker. It feels like there's more going on. The 1 to 30 millisecond widening worked, the fade has panned left and right. The 30 to 60 millisecond doubling works with the faders panned in the center, working with the phantom image. I prefer to use natural doubling. In a pinch, I might use this concept to fatten my vocal up and to make the center image feel a little bit fuller. As a vocal producer, to know your options, whether you're going to process something naturally or process something artificially, we'll create the choices when you're working with your singer or whether you're working in your mix. Let's take a look at some more.